Women, Religion, and Culture in Spain and Spanish America (1900-2000)

这个网络将构思、发展和探索一系列新的问题，这些问题是关于20世纪和21世纪西班牙和西班牙美洲妇女的文化生产是如何与宗教和精神角色的变化交织在一起的。该项目将有助于重塑文化现代主义，这一时期通常被视为上帝之死至上的时期，作为一项建设性的艺术事业，旨在发现物质和精神生活的新星座。2001年9月11日星期二上午，基地组织劫持并驾驶两架美国客机撞向世界贸易中心——全球资本主义的象征——造成2996人死亡。在这次事件之后，宗教的相关性在西方世界得到了重申（Winnfield 2007）。紧接着，全球关系的社会政治变化对每个人来说都是显而易见的，但近年来，9/11事件使艺术、政治和宗教之间的联系更加明确，在一段时间内，人们对艺术能否取得任何成就持怀疑态度（Eagleton 2014: 196）。《查理周报》（Charlie Hebdo）和《日德兰邮报》（Jyllands-Posten）办公室受到的威胁和袭击，强烈地提醒人们，艺术对社会的影响——无论是积极的还是消极的——都具有强大的力量。最近，法国警方要求一名妇女在海滩上脱掉布基尼的照片与1925年一名穿着泳衣的妇女站在佛罗里达州海滩上的照片并在一起，警察正在测量从下摆到膝盖的距离，以确保它符合严格的泳装规定。这两幅图像挑战了当代社会中女性个人和宗教自由进步的假设，邀请人们探索新的“政治和宗教的相互依赖”（Critchley 2012: 8），并建议我们重新审视控制女性性行为的父权制的起源问题（Lerner 1986）。除了引起人们对公共领域中对女性身体的持续规范的关注外，这些图像还证明了视觉图像在当代权力话语中日益增强的力量。从近代早期伊比利亚半岛伊斯兰教与基督教的复杂关系，到以西班牙内战和流放为高潮的教会与进步势力之间的冲突，西班牙和西属美洲长期以来一直是政治与宗教紧张关系的熔炉。从基督教被引入西属美洲的那一刻起，它就一直在与土著宗教和信仰对话，20世纪后半叶解放神学等运动的发展，以及最近福音派运动的传播，都表明了该地区对宗教思想的持续关注。这种宽泛的历史概览可能暗示，存在一种粗略的叙述，即宗教在启蒙运动之后衰落，直到2001年才重新回到舞台中央。这是一个过于简化的立场，但其中包含了一些真理。20世纪初，现代主义作家和艺术家将焦点和价值放在推翻旧的正统观念上，不可避免地包括拒绝有组织的宗教，但他们并没有脱离与宗教信仰相关的哲学问题类型（Gay 2010）。该项目的主要目的是探索在西班牙语世界的女性艺术家和作家的作品中使用与有组织的和替代的宗教和精神有关的符号和图像，以表明虽然有组织的宗教对社会和政治生活的影响正在减弱，但作家和艺术家仍然使用和参与宗教符号作为解释世界的一种手段。

This network will conceive, develop, and explore a new set of questions about how women's cultural production in Spain and Spanish America is intertwined with changes in the role of religion and spirituality in the 20th and 21st centuries. This project will help to recast cultural Modernism, which has often been seen as a period in which the death of God was paramount, as a constructive artistic enterprise aimed at discovering new constellations of material and spiritual life.On the morning of Tuesday 11th September 2001 al-Qaeda hijacked and flew two American passenger planes into the World Trade Centre-a symbol of global capitalism-killing 2,996 people. The relevance of religion was reaffirmed for the western world in the wake of this incident (Winnfield 2007). In the immediate aftermath the socio-political changes in global relations were apparent to everyone, but in recent years the event of 9/11 has made the connections between art, politics, and religion more explicit, after a period of scepticism about the ability for art to achieve anything at all (Eagleton 2014: 196). The threats and attacks on the offices of Charlie Hebdo and Jyllands-Posten have acted as a violent reminder of the power of art to affect change-positive or negative-on society. More recently, viral images of French police demanding that a woman remove a burquini on a beach were juxtaposed with a 1925 image of a woman in a bathing suit standing on a Florida beach as the police measure the distance from the hem to the knee to ensure it confirms with strict swimsuit regulations. These two images, which challenge assumptions about advancement of the personal and religious freedom of women in contemporary society, invite exploration of the renewed 'interdependence of politics and religion' (Critchley 2012: 8) and suggest that we reopen questions about the origins of patriarchy in control of a woman's sexuality (Lerner 1986). As well as drawing attention to the continued attempts to regulate the women's bodies in the public sphere, the images act as evidence of the increased power of the visual image in contemporary discourses of power.Spain and Spanish America have long been a crucible of politico-religious tensions, from the complex relationship between Islam and Christianity in early modern Iberia to the clash between the Church and progressive forces culminating in the Spanish Civil War and exile. From the moment Christianity was introduced in Spanish America, it has always been in dialogue with indigenous religions and beliefs and the growth of movements like Liberation Theology in the later part of the twentieth century as well as the more recent spread of evangelical movements show a continued preoccupation with religious thought in the region. This broad historical overview might suggest that a crude narrative exists in which religion waned after the Enlightenment only to return to centre stage in 2001. This is an over-simplified position but one which contains a grain of truth. The focus and value that modernist writers and artists placed on the overturning of old orthodoxies at the beginning of the 20th century inevitably included a rejection of organised religion, yet they did not disengage from the types of philosophical questions often associated with religious devotion (Gay 2010). The main aim of this project is to explore the use of symbols and imagery related to both organised and alternative religions and spiritualties in works by women artists and writers from across the Spanish-speaking world to show that whilst the influences of organised religion on social and political life was waning, writers and artists still used and engaged with religious symbols as a means of explaining the world.